Graham's Magazine, Vol. XLI, No. 6, December 1852

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Various. Graham's Magazine, Vol. XLI, No. 6, December 1852

“PALE CONCLUDING WINTER.”

A HISTORY OF THE ART OF WOOD-ENGRAVING

RIVERS

WERE I BUT WITH THEE

SONNET. – IRON

NINEVEH, AND ASSYRIAN ART

FRAGMENT OF A POEM

MONDE HEDELQUIVER

CHAPTER I

CHAPTER II

CHAPTER III

CHAPTER IV

CHAPTER V

CHAPTER VI

WELLINGTON

SONNET. – HOMER

GRACE BARTLETT

CHAPTER I

CHAPTER II

CHAPTER III

CHAPTER IV

CHAPTER V

CHAPTER VI

CHAPTER VII

CHAPTER VIII

CHAPTER IX

CHAPTER X

CHAPTER XI

SONNET

UPS AND DOWNS

CHAPTER I

CHAPTER II

CHAPTER III

CHAPTER IV

CHAPTER V

FATHER BROMLEY’S TALE

HOURS IN AUGUST

ANNIE

THE USEFUL ARTS IN OTHER NATIONS AND TIMES

BLIND SIGHT-SEEING

THE LUCKY PENNY

CHAPTER IV

THE TOPMOST CITY OF THE EARTH

BETTER DAYS

REVIEW OF NEW BOOKS

Отрывок из книги

With regard to the antiquity and origin of this most beautiful and most important of the early Christian arts – most important, because to it can be traced directly the invention of typography, as it now exists, bringing knowledge and truth within the reach of all who desire to attain them – there has been much difference and dispute among the literati. After the second restoration of letters – I mean after the dull and dreary interregnum between the era of the Stuarts and the Georgian era of literature, dating from the commencement of the present century – there seems to have arisen a strange habit of referring every thing, the origin of which was not distinctly known, to eras the most remote. Not to be able to say such a discovery was made by such a learned German or Venetian, by such a celebrated Gaul or Briton, in such a town, in such a year, of such a century, was sufficient cause for the drivelers of the time – the best scholars of whom knew, like Shakspeare, little Latin and less Greek, assuming, nevertheless, the possession of the deepest classic lore – to assert point-blank that it was made by such a wonderful Chinese philosopher during the reign of Wu-wang, emperor of China, or such a remarkable Egyptian sage, in the reign of Tathrak or Amenophis; or, that it was in common use in the days of Pericles, or perhaps even of the later Roman emperors.

The general knowledge of the classic languages was then so rare even among the authors of those days, that the dictum of any dunce who grossly misconstrued a Greek or Latin text, or of any rogue, who chose to forge one in support of his theory – in those days a matter of daily occurrence – was, so far from being questioned, detected, refuted, and exposed, as would now be the case, within a week of its publication, quoted and requoted by successive schools of dunces, until it was received as a truth, and sent down as a grave authority to future generations.

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To produce greater depth of shadow in one part of a metallic engraving than in others, the lines must be cut deepest where the shadow is to be the blackest, and thence graduated, less and less deep, to the plain surface, which gives pure white.

To produce greater depth of shadows in one part of a wood-cut than in others, the prominent lines must be left most prominent where the shadow is to be the blackest; and thence shaved away more and more, as the shadows are to be less intense, until no lines at all are left on which the paper can impinge, and there will be pure white.

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